In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km nort... more In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km north of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
In 1997, during an urgent excavation that the Syrian Service of Archaeological Excavations undert... more In 1997, during an urgent excavation that the Syrian Service of Archaeological Excavations undertook at Qalat Al Madiq (Apamea), a collective tomb, situated outside the northern wall of the ancient city of Apamea at 500 m fromthe site, was discovered. The tomb consists of three funeral rooms; two of the rooms are paved with mosaics. The floor of the first room features a square mosaic, decorated with a circle inscribed in the square. The circle includes a flower with six petals. The second room features a mosaic, which is larger than that of the first. This mosaic is rectangular in shape and includes a rectangular panel framed by a border decorated with a composition featuring multiplications of braids and a wreath of laurels. This panel contains three busts, bordered on both sides by long strips of flowers. Beginning at the bottom, the first is a bust of the mother goddess, who is determined by the marine animals that surround her head. The second bust is the figure of a Gê, who is designated by a Greek inscription below the bust. The third bust is that of Aion, who is also designated by a Greek inscription below the figure.
Organisé par l'Ecole Normale Supérieure et le Laboratoire d'Archéologie et de philologie AOROC UM... more Organisé par l'Ecole Normale Supérieure et le Laboratoire d'Archéologie et de philologie AOROC UMR 8546. Conférences et exposition de posters sur la recherche archéologique Syro-Française depuis plus d'un siècle
In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km nort... more In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km north of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
In 1997, during an urgent excavation that the Syrian Service of Archaeological Excavations undert... more In 1997, during an urgent excavation that the Syrian Service of Archaeological Excavations undertook at Qalat Al Madiq (Apamea), a collective tomb, situated outside the northern wall of the ancient city of Apamea at 500 m fromthe site, was discovered. The tomb consists of three funeral rooms; two of the rooms are paved with mosaics. The floor of the first room features a square mosaic, decorated with a circle inscribed in the square. The circle includes a flower with six petals. The second room features a mosaic, which is larger than that of the first. This mosaic is rectangular in shape and includes a rectangular panel framed by a border decorated with a composition featuring multiplications of braids and a wreath of laurels. This panel contains three busts, bordered on both sides by long strips of flowers. Beginning at the bottom, the first is a bust of the mother goddess, who is determined by the marine animals that surround her head. The second bust is the figure of a Gê, who is designated by a Greek inscription below the bust. The third bust is that of Aion, who is also designated by a Greek inscription below the figure.
Organisé par l'Ecole Normale Supérieure et le Laboratoire d'Archéologie et de philologie AOROC UM... more Organisé par l'Ecole Normale Supérieure et le Laboratoire d'Archéologie et de philologie AOROC UMR 8546. Conférences et exposition de posters sur la recherche archéologique Syro-Française depuis plus d'un siècle
Le présent volume s’inscrit dans le paysage aux contours depuis longtemps bien dessinés et, d’auc... more Le présent volume s’inscrit dans le paysage aux contours depuis longtemps bien dessinés et, d’aucuns diront, aux sentiers très fréquentés de l’angélologie. Les anges sont inépuisables ; aussi n’avons-nous pas cherché à produire une « somme théologique » à leur propos. Notre but est de proposer un parcours, tout au long de ces siècles qui mènent de l’Antiquité à Byzance, afin de capter, au moment où la figure de l’ange émerge et s’affirme, les multiples facettes qui contribueront à fixer son identité. L’idée de l’ange est tout sauf univoque. Sa représentation également. En complément du duo associant « conception » et « représentation », il nous a semblé intéressant de mettre l’accent sur un troisième terme : la « perception ». L’approche du phénomène angélique ne saurait en effet s’en tenir au rationnel, tel que le revendique l’exégèse de la pensée ou de l’image. D’autres voies cognitives plus souples, plus imaginatives, s’ouvrent grâce à l’attention portée à une réalité riche de nuances et de significations. C’est bien d’une invention au sens plein du terme dont il s’agit. L’ange ne peut s’expliquer sur le seul mode du syncrétisme. Il ne suffit pas de retracer, dans les textes, les monuments et l’iconographie, les modalités selon lesquelles les anges bibliques – vétéro- et néotestamentaires –, au contact de leurs homologues issus de la culture gréco-romaine et des autres civilisations du pourtour méditerranéen, se seraient pour ainsi dire fondus en eux, produisant une sorte de créature kaléidoscopique, daimôn aux ailes teintées de judaïsme, de gnose et de manichéisme, féru de néoplatonisme, ou, cédant à des tentations exotiques, allant jusqu’à s’aventurer du côté du mazdéisme et plus loin encore. L’ange chrétien est hybride ; mais il acquiert une personnalité unique, dont la force se mesure à l’aune de sa postérité.
The present volume takes place within the long-established and well-trodden path of angelology. Angels are inexhaustible, so we have not sought to produce a “Summa theologica” about them. Our aim is to propose a journey across the centuries from Antiquity to Byzantium in order to capture the moment when the multifaceted figure of the angel emerges and asserts itself. The idea and representation of the angel is anything but straightforward. In addition to the duo associating “conception” and “representation”, we thought interesting to stress this third term: “perception.” One cannot be solely rational in the exegesis of thoughts or images when approaching the angelic phenomenon. Other more flexible, more imaginative cognitive paths open up thanks to the attention paid to a reality rich in nuances and meanings. It is indeed an invention in the full sense of the term. The angel cannot be explained only by syncretism. It is not enough to retrace in texts, monuments, and iconography, the ways in which the biblical angels— in the Old and New Testament—, would have melted into their counterparts from Graeco-Roman culture and other civilizations around the Mediterranean, producing so to speak a kind of kaleidoscopic creature, a daimon with wings tinged with Judaism, Gnosis and Manichaeism, fascinated for Neoplatonism, or, yielding to exotic temptations, even venturing into Mazdeism and beyond. The Christian angel is a hybrid; but he acquires a unique personality, whose strength is measured by his posterity.
Le principal dossier de ce fascicule, consacré à la période du second iconoclasme et du « Triomph... more Le principal dossier de ce fascicule, consacré à la période du second iconoclasme et du « Triomphe de l’Orthodoxie », a souffert des malheurs du temps (qui sont aussi à l’origine du retard pris par le volume dans son ensemble). Des contributions prévues n’ont pas abouti et un dossier complémentaire sur le même sujet sera publié dans les Travaux & m.moires 27, 2023. Les collègues souhaitant participer à ce dossier sont invités à m’adresser leurs propositions et textes qui seront examinés par la rédaction. Ce fascicule, comme beaucoup de nos publications, a bénéficié de la collaboration de Clive Sweeting pour la révision stylistique des textes anglais. Son nom est souvent cité dans les remerciements des volumes antérieurs. Clive est décédé du cancer le 4 octobre 2020. Nombre de textes publiés ici, revus par ses soins, portent la marque de son fin sens du style et sa parfaite maîtrise du vocabulaire théologique ; son excellente connaissance du grec était un grand atout dans la révision des traductions. Clive corrigeait toujours à la main et je suis devenu expert en déchiffrement de ses notes, portées au stylo lorsqu’il considérait la correction comme indispensable et au crayon lorsqu’il la voyait comme facultative. Les Travaux & m.moires ont perdu un collaborateur précieux, aussi savant qu’efficace, dont je salue ici la mémoire. Une notice nécrologique retraçant son parcours lui sera consacrée dans l’annuaire de Merton College, son alma mater, The Postmaster. M. Stepan Stepanenko, MA et désormais PhD, a repris avec verve la tâche de la révision, particulièrement lourde dans ce fascicule où aucun des textes publiés en anglais n’a été rédigé par un anglophone, et au nom des auteurs qui en ont bénéficié je lui exprime notre reconnaissance.
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disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and
animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
floor of the first room features a square mosaic, decorated with a circle inscribed in the square. The circle includes a flower with six petals. The second room features a mosaic, which is larger than that of the first. This mosaic is rectangular in shape and includes a rectangular panel framed by a border decorated with a composition featuring
multiplications of braids and a wreath of laurels. This panel contains three busts, bordered on both sides by long strips of flowers. Beginning at the bottom, the first is a bust of the mother goddess, who is determined by the marine animals that surround her head. The second bust is the figure of a Gê, who is designated by a Greek inscription below the bust. The third bust is that of Aion, who is also designated by a Greek inscription below the figure.
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disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and
animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
floor of the first room features a square mosaic, decorated with a circle inscribed in the square. The circle includes a flower with six petals. The second room features a mosaic, which is larger than that of the first. This mosaic is rectangular in shape and includes a rectangular panel framed by a border decorated with a composition featuring
multiplications of braids and a wreath of laurels. This panel contains three busts, bordered on both sides by long strips of flowers. Beginning at the bottom, the first is a bust of the mother goddess, who is determined by the marine animals that surround her head. The second bust is the figure of a Gê, who is designated by a Greek inscription below the bust. The third bust is that of Aion, who is also designated by a Greek inscription below the figure.
The present volume takes place within the long-established and well-trodden path of angelology. Angels are inexhaustible, so we have not sought to produce a “Summa theologica” about them. Our aim is to propose a journey across the centuries from Antiquity to Byzantium in order to capture the moment when the multifaceted figure of the angel emerges and asserts itself. The idea and representation of the angel is anything but straightforward. In addition to the duo associating “conception” and “representation”, we thought interesting to stress this third term: “perception.” One cannot be solely rational in the exegesis of thoughts or images when approaching the angelic phenomenon. Other more flexible, more imaginative cognitive paths open up thanks to the attention paid to a reality rich in nuances and meanings. It is indeed an invention in the full sense of the term. The angel cannot be explained only by syncretism. It is not enough to retrace in texts, monuments, and iconography, the ways in which the biblical angels— in the Old and New Testament—, would have melted into their counterparts from Graeco-Roman culture and other civilizations around the Mediterranean, producing so to speak a kind of kaleidoscopic creature, a daimon with wings tinged with Judaism, Gnosis and Manichaeism, fascinated for Neoplatonism, or, yielding to exotic temptations, even venturing into Mazdeism and beyond. The Christian angel is a hybrid; but he acquires a unique personality, whose strength is measured by his posterity.
Ce fascicule, comme beaucoup de nos publications, a bénéficié de la collaboration de Clive Sweeting pour la révision stylistique des textes anglais. Son nom est souvent cité dans les remerciements des volumes antérieurs. Clive est décédé du cancer le 4 octobre 2020. Nombre de textes publiés ici, revus par ses soins, portent la marque de son fin sens du style et sa parfaite maîtrise du vocabulaire théologique ; son excellente connaissance du grec était un grand atout dans la révision des traductions. Clive corrigeait toujours à la main et je suis devenu expert en déchiffrement de ses notes, portées au stylo lorsqu’il considérait la correction comme indispensable et au crayon lorsqu’il la voyait comme facultative. Les Travaux & m.moires ont perdu un collaborateur précieux, aussi savant qu’efficace, dont je salue ici la mémoire. Une notice nécrologique retraçant son parcours lui sera consacrée dans l’annuaire de Merton College, son alma mater, The Postmaster.
M. Stepan Stepanenko, MA et désormais PhD, a repris avec verve la tâche de la révision, particulièrement lourde dans ce fascicule où aucun des textes publiés en anglais n’a été rédigé par un anglophone, et au nom des auteurs qui en ont bénéficié je lui exprime notre reconnaissance.
Constantin Zuckerman